“I a poet too”: An Intersectional Approach to the Work of Neal Cassady “Look, my boy, see how I write on several confused levels at once, so do I think, so do I live, so what, so let me act out my part at the same time I’m straightening it out.” Max Hermens (4046242) Radboud University Nijmegen 17-11-2016 Supervisor: Dr Mathilde Roza Second Reader: Prof Dr Frank Mehring Table of Contents Acknowledgements 3 Abstract 4 Introduction 5 Chapter I: Thinking Along the Same Lines: Intersectional Theory and the Cassady Figure 10 Marginalization in Beat Writing: An Emblematic Example 10 “My feminism will be intersectional or it will be bullshit”: Towards a Theoretical Framework 13 Intersectionality, Identity, and the “Other” 16 The Critical Reception of the Cassady Figure 21 “No Profane History”: Envisioning Dean Moriarty 23 Critiques of On the Road and the Dean Moriarty Figure 27 Chapter II: Words Are Not For Me: Class, Language, Writing, and the Body 30 How Matter Comes to Matter: Pragmatic Struggles Determine Poetics 30 “Neal Lived, Jack Wrote”: Language and its Discontents 32 Developing the Oral Prose Style 36 Authorship and Class Fluctuations 38 Chapter III: Bodily Poetics: Class, Gender, Capitalism, and the Body 42 A poetics of Speed, Mobility, and Self-Control 42 Consumer Capitalism and Exclusion 45 Gender and Confinement 48 Commodification and Social Exclusion 52 Chapter IV: Writing Home: The Vocabulary of Home, Family, and (Homo)sexuality 55 Conceptions of Home 55 Intimacy and the Lack 57 “By their fruits ye shall know them” 59 1 Conclusion 64 Assemblage versus Intersectionality, Assemblage and Intersectionality 66 Suggestions for Future Research 67 Final Remarks 68 Bibliography 70 2 Acknowledgements First off, I would like to thank Mathilde Roza for her assistance with writing this thesis. She always gave a lot of feedback and – something which I find even more important – many compliments and positivity. I must also thank Sanne Kanters, who got me on the track of intersectionality theory, and she certainly helped downplay the many fallacies that surround this particular literary subject. Lastly, an unusual thanks to the faculty of Philosophy, Theology, and Religious-Studies, for without their 12th-floor workspace overlooking the green trees south of the university, I would certainly not have found the ease of mind to write all this. 3 Abstract This thesis examines the work of Neal Cassady from an intersectional perspective. It first addresses several issues with regards to the critical reception that already exists of Cassady’s work, most notably the prevalence of fictionalizations by other authors and the absence of research directed solely at Neal Cassady’s own work. This thesis then sets out to examine Cassady’s work by looking at the various components that have shaped his author identity, such as gender, class, and sexuality – thus establishing a firm ground on which to investigate the historical circumstances that have shaped his work. It concludes by demonstrating that Cassady’s lower class background has had tremendous effects both on his writing life and on his conceptions of gender and sexuality, and that these latter two, in turn, have influenced his experience of class. As a result of this research, common criticisms directed at fictionalizations of the Cassady figure can be reframed in order to better fit the historical circumstances that shaped Cassady’s life, which leads to a more articulate understanding of the workings of gender, class, and sexuality in Beat literature. 4 Introduction It will come as no surprise that the real Neal Cassady was quite different from the mythical figure that the Beat writers made of him. Born in Salt Lake City in 1926, Neal’s mother left his alcoholic father when Neal was only six years old. Neal was forced to live with his father in Denver’s skid row, sleeping in cheap hotels and taking occasional hobo trips across the country. He switched schools a lot, got into trouble with the law for joyriding, and spent several terms in jail. He was introduced to literature, such as the works of Dostoyevsky, through the prison library. After staying in youth reform schools and labor camps, Neal traveled to various cities and worked different jobs. During the mid-1940s he met characters such as Al Hinkle, Hal Chase, and eventually Jack Kerouac and Allen Ginsberg. He had an affair with Ginsberg, and they wrote dozens of (love) letters to each other over a long decade. He married a girl, LuAnne Henderson, but annulled their marriage a year later in order to marry his lifelong partner, Carolyn Cassady. Throughout the 1940s and 1950s they had three childen. He also had an illegitimate child – Curtis Neal – with Diana Hansen. Neal started working at the railroad in 1948. The early and mid-1950s were a relatively quiet period in his life, he spent them either in San Fransisco or at his home in Los Gatos (California) with Carolyn, during which he wrote most of his (now published) work. He continued working at the railroad, a job that helped him to financially support Carolyn, their three children, and Diana. During this period, he wrote several short stories and worked on his autobiography. In 1958 Neal was arrested for possession and “suspected” sale of marihuana, and sentenced to two years in San Quentin prison – although an official trial was never held. After his release Cassady did various odd jobs, but his incarceration left marks on his relationship with Carolyn and their children, and they eventually divorced in 1963. After the divorce, Cassady had a series of intense and often drug/alcohol-fuelled relationships with various women. Because of his reputation as On the Road’s “Dean Moriarty,” Neal was asked to join Ken Kesey’s Merry Pranksters, and he traveled across the US several times, doing all types of drugs. While visiting a wedding in Mexico with some of his friends in 1968, Neal wandered off at night, and was found in a coma alongside a railroad track the next day. He was carried to a hospital and died several 5 hours later. Rumors of his death are abundant, many of them claiming he died of overexposure, although an official autopsy was never held (Moore xix-xxii).1 The fact that Neal was different from the many Beat fictionalizations that surround his name is revealed in the numerous historical documents that surfaced after his death. Below I have listed two examples of this. In the first, Linda McDowell writes about Neal Cassady’s response to the publication of On the Road. The second is taken from the introduction to a series of Cassady’s letters in The Missouri Review: The portrait of a carefree, dare-devil Moriarty in On the Road was an inaccurate reflection of Cassady’s experience. […] According to Carolyn’s autobiography, Neal said he enjoyed Jack’s descriptions of what they had done together and got a kick out of reminiscing by reading it, but the glorification of his antics in print also made him uneasy. He wasn’t proud of this side of his nature; he tried very hard to overcome it. (417) In many ways, the man Neal Cassady didn’t entirely fit the casual myths about him. Despite his baroque sex life, Neal ended up loving and being loved by one woman, Carolyn Robinson Cassady. Their three children, for whatever reasons, grew into admirable adults, contrary to the stereotype of the ‘wounded’ children of celebrities. This philosopher of the carefree life hated being idle. Not having a job made him antsy. (“The letters of Neal Cassady” 94) Neal’s life slowly started falling apart in 1958 because he was sentenced to two years in San Quentin prison. Neal lost his job at the railroads and he could not see Carolyn and his children during his incarceration. During this period Kerouac told Carolyn that he could not “picture anything grayer than the thought of Neal in one part of the world, alone, and you in another, alone, lacking your intimate conversation between each other” (Charters, Selected Letters 288). After joining Ken Kesey’s Merry Pranksters bus, and already at the age of 38, Neal again shot across the US in a drug-fuelled frenzy. Carolyn Cassady writes: They treated him like a trained bear. Neal said he took any drug, any pill, anyone handed him. He didn’t care. He was doing his damnedest to get killed. […] I didn’t realise the two pillars of his support were the 1 Some authors have even fictionalized Neal Cassady’s death, e.g. Ken Kesey’s “The Day After Superman Died”. Although the very particular term “overexposure” comes back in various biographical anecdotes, sources are always very unclear as to why Cassady would have died from it, as it is a term commonly associated with heat, not drugs. 6 railroad job and being head of a family. He realised he would never become respectable, as he wanted, and he wanted to die. (“Excerpts”) Instead of a man relentlessly hurrying after his desires and soaring across the US in search of the next metaphorical “hit,” this depiction of Cassady reveals his personal issues with trying to live a respectable life as a hardworking, almost stereotypical “American man”. Instead of being represented as the antithesis to married life and its various rules and hegemonic ideals, Cassady is portrayed as a man who idealizes and relies on these very structures for financial support and emotional stability. The “Adonis of Denver” – as Ginsberg and Kerouac called him – actually did most of his writing when living with Carolyn and working steadily at the railroad. Upon reading these excerpts I was quite astounded to find that Cassady had spent most of his life with one woman and in one place, which only goes to show that because of the elaborate fictionalizing and mystification, it has become difficult to envision the historical person apart from his supposedly frantic and excessive lifestyle.